The Milan exchange. (Milan, Gibson County, Tenn.) 1874-1978, 1887-06-18
STUDIES AT THE PIANO.
Incidents Showing That Things Are Nos
Always What They Seem.

Incidents Showing That Things Are Not
Always What They Seem.
She was tender, passionate thing,
full of all those sweet, emotional
charms that lead to engagements which
calmer reasons throws different light
upon. She sung. She did not only
try to sing as most young women do.
She could sing, and she sang. She
liked pretty, sentimental ballads, and
once forgot the point and drove fell
low away by giving him with fine ex-
preston and forgetful enthusiasm that
beautiful musical advice, "Bid Me
Good-by and Coz" He babe her
"Good-by" and went. She could not
understand what he meant, until
through the tear-filled eyes she read
accidentally the legend on the page OF
music. 1t is needless to say he re-
turned. 1t is no use asking how she
did it. 1t wouldn't do you any good
to know. Every girl has her own
patented way of bringing fellow
back. 1t is the only thing they are
distinctly original in, except making
pie.
1t might not have been the same
girl. don't know They're liable to
get mixed up in stories, those girls.
This one had a sweet voice and plead
ing way that was dangerous. There
are different kinds of pleading ways,
don't you knowP A girl takes song
off the piano; she is seated on the twist
ing piano-stool, and there's young
fellow in an evening suit, with a soli-
tary stud, corrugated shirt-front,
fob-chain, leaning over her, with one
thumb balanced in his waistcoat pocket
and his right hand playing restlessly
with his mustache, simply to keep ii
from dropping around his neck.
Isn't that a beautiful songP" she
asks.
WHAT" he asks, never looking at
the music, but gazing into her eyes.
80, Lay Thy Cheek on Mine,
Lover
Then she looks up pleadingly. She
knows there are too many people about
for him to do any thing of the kind.
He bushes little.
II have the cheek, but there are too
many people around" he whispers.
The funniest pleading girl does is
when she most particularly wants you
not to do something she asks you to
do. That is worth studying. But be
careful, you may misunderstood her.
But this girl in Oakland had beau.
Well, he wasn't exactly beau. He
was kind of peep-beau. They sal
: in the drawing-room. Perhaps you
don't know why it is called drawing
room. Because it is the place where
} girls draw men out. He knew she
9 sang.
"Will you not sing for meP"
4 Could she refused If she hadn't beer
7 able to sing she wouldn't have thought
4 of refusing, and she could not possibly
| refuse seeing she could sing. So he sal
I in chair with that preparatory look Of
g pleasure that h nothing to do with
the song, and every thing to do with
2 the singer. All, me! But l can't
, stop to moralize, I've got to go on
0 with this story. You have the tableau
l in your. minds eye. The maiden just
beginning on the lovely ballad, the
I young man gazing at her. Now let me
t introduce another character. Small
: child, nephew, in the next room. Small
I child has been listening. He is look
ing through the crack of the door with
e a painful expression coming over his
I face. The voice grows more and more
c impassioned by the piano and the girls
4 whole soul is in the song. There is q
, tap at the door, gentle tap. The
# singer turns around, stops and says:
d "Well, what is it, dearP"
c The little panied face becomes pa
G thetic as the child looks at her.
Il please, aunty, won't you stop that
+ sad noisep" Francisco Chronicle